All Episodes
The Music Interval Theory Podcast — 230 episodes
Composing with Just One Polychord
The Best Composers Use Only 3 Composition Techniques, Not 30
3 Different Starting Points for Better Compositions
The "1+1" Interval Game
Why Composers Freeze at Bar 5
The Secret Is Prediction, Not Talent
Fix the Score, Not the Knobs
Diatonic vs. Intervallic - Which One is Better
5 Spells Every Composer Needs
The Note Your Scale Won't Allow
The 48-Hour Composition Challenge
Color Doesn't Belong to a Genre
When Lines Do What Chords Cannot
Think In Energy, Not Chords
Fix The Context, Not The Chord
Momentum Over Perfection
When Simple Is Strong
The Power of A Story
Stop Composing Alone
Why Basics Unlock Magic
Find Your Musical Edge (With Interval Theory)
Balancing Complexity and Simplicity
Making Notes and Clusters Belong
Musicians Love Patterns
The Art of Singable Lines
Hearing Intervals Differently
Bridging from Diatonic Writing to the Intervals
Protecting the Actor's Moment
The Pedal Tone Reset
Groove Without More Notes
Start With Energy, And The Notes Will Follow
When Birds Become Bassoons
Pattern Education And Sounding Generic
The Secret to Motion Without Changing Harmony
Seamless Storytelling In Your Music
Why You Feel Slow When You Compose (And How to Fix It)
From Scale Prison to Interval Freedom
The Secret Life of Interval Resolution
Recovering Like a Pro
Escape Overthinking with Musical Finger Painting
Good Orchestration is Strong Storytelling
Think in Lines, Not Stacks
Why Your Harmony Sounds Wrong (Even When It Looks Right)
Composition Techniques Don't Expire
How I Composed My Best Boss Music Tracks
Orchestration Is Your Best EQ
Dissonance Is A Choice
Stop Fixing the Minor Second and Start Controlling It Instead
It's Not About the Tricks, It's About the Time You Save
From 12 Intervals to Just 6 Personalities
Why Hollywood Scores Are Written in no Key
From Lines to the Orchestration with Counterpoint
The Lie of Perfect Spelling
Why Music Theory Shouldn't Feel Like Detention
Why I Use My Keyboard Like a Ruler
How to Train Your Ear Without a Piano
Unlocking Chord Function with the Harmonic Series
From Triad to Magic with Scaling
It's Not a Bug, It's Your Voice
Become Your Own Composition Coach (With This One Simple Habit)
When Feedback Feels Like Magic
The Spicy Magic of the 13-Interval
Unfinished but Unstoppable
You Don't Find Your Voice But You Write Your Way Into It
Loud Is Not Enough to Make Your Orchestration Climax Pop
Why Titles Matter More Than You Think
Dark Underscore and Silence
The One Thing I Do Before Composing a Film Cue
Stop Overwriting - Clarity Is the Real Magic
Stop Starting with the Intro
Scaling of Triads - Live Session
The Magical Engine Inside Your Music
Sketch First, Orchestration Second
Why Your Music Moves Too Fast (And How to Fix It)
Why Repetition isn't Lazy ... It's Smart Storytelling
Why 2026 Is the Year of Interval Magic
How a Tiny Interval Turn Brought My Sketch to Life
The Secret Glue Behind Great Film and Game Cues
Why Avoiding Doublings Makes Your Music Weaker
The Secret Vocal Trick That Makes Your Strings Come Alive
A Solid Low End Can Sound Like Sub-Bass Magic
Stop forcing the mode, Start following the emotion
The Magic Of Diatonic Thirds
Character First, Perfection Later
The Day A Client Shocked Me In The Studio
Orchestration is NOT Decoration
STOP Muddy Strings - Fluent Line Tricks Every Composer Needs
Scale Your Triads and Get A Great Disney Sound
Inside a Real Composition Session
FIX Boring Chords with THIS Interval-Based Move
Everything you need to know about Great Part Writing in 16 Minutes
Clarity And Transparency in Your Orchestrations
3 Orchestration Concepts you must know (plus 3 Bonus Tips)
The Secret of the Low End (What Great Orchestrators Already Know)
Why Gathering Before Sketching Changes Everything
How to Use Counterpoint in Modern Composition
The Harmony Trick Every Composer Needs for Better Music
From Chaos to Clarity
Why 10 minutes a day can change your music forever
No Samples, No Tricks - Just Sibelius and NotePerformer
A Balcony, a Jazz Festival, and a Lesson in Sound
When the Director Talks to the Composer
Steve and the Spells
The Scoring Workshop Recap and Insights
The day I decided to break the rules
Why you don't finish your music, and how to fix it easily
Music Theory for Composers - And what no Teacher told me
122 - Why some melodies STICK in your head
121 - Why Most Film Scores Sound The Same and How to Fix that
120 - Transform Your Sketch FAST - Using Beethoven's Fifth Symphony
119 - Sketch like a Pro - Beethoven's Trick Still Works
One Sketch, Three Worlds - How to Orchestrate Emotion with Intervals
The Interval Sketch Method
Why Counterpoint Never Worked for Me - Until I did THIS
What No Teacher Ever Told Me About the Overtone Series
How I Compose Without Thinking in Chords
The Best Exercise to Boost your Line Writing Skills
My Advice for Interval Theory Beginners - START HERE!
Breaking and Building at the same time!
Avoid These Boring Chord Progressions
How to Derive More Music From a Theme
My Full Scoring Process For Animation
What you need to know about Interval Theory
Composition vs. Production - What do you need REALLY as a Composer
Bernard Herrmann - Intervallic Deep Dive
Diatonic VS. Intervallic Theory - Which one is better?
103 - My 3 Steps To Creating Unique-Sounding Compositions
102 - Interval Theory & The Orchestration - Insights For Composing Action Music
101 - Your Letter to the Musician
100 - Music Publishing Rights - Big Studios vs. Small Clients
099 - Harmony in Collaboration - Lessons from the brass section
098 - Scoring the Moment - Pirate Scene
097 - How to improve your Composition Skills
096 - Composition Techniques vs. Creativity
095 - The Mixolydian Mode in the Genre of Romantic Comedy
094 - From Schneider to Disney
093 - How I Modulate to Any Tonal Center Easily
092 - Blending Interval Theory with Diatonic Thinking
091 - Let's Create Some Mystery Music
090 - I Followed Advice From Jerry Goldsmith
089 - Improving Sound & Skill
088 - Orchestration Techniques That Have Served Me Well
087 - Enhancing the Dorian Mode With Interval Theory
086 - How I Pump More Energy Into Static Chord Progressions
085 - Composing with Chromatic Transitions
084 - The Use of Percussion in Orchestral Works
083 - The Musical Influences of a Master Composer
082 - Ethics of Using AI in Music
081 - My Composition Tricks for Film Noir-Style Music
080 - Sketch Development on the Piano
079 - Ethics in Music
78 - Playing the Same Music Through All the Modes
077 - Fluent Part Writing
076 - My Musical Influences
075 - How I Compose An Interesting Canon
074 - A Deep Discussion about Creativity
073 - Polytonality For Piano
072 - Orchestration Masterclass on Action-Adventure
071 - Dave from the 52Cues Podcast Interviews TC & Frank
070 - With Pro Musician John Isley
069 - 5 Ways to Use Chromatic Lines with Scales
068 - Orchestration Insights
067 - Whistle all over the place
066 - Scoring Workshop Recap
065 - Let's Talk About Bass
064 - From Sketch to Symphony With Marc Bercovitz
063 - 52Cues Interviewing TC and Frank
062 - Guitar Gymnastics
061 - Crafting the Extraordinary - A Piano With 112 Keys
060 - What If Beethven Was A Film Composer
059 - 5 Composition Techniques You Should Know
058 - All About Rhythm
057 - Unleash Your Creative Potential
056 - Composing On Guitar - Part 8 - Orchestral Composition
055 - Composing On Guitar - Part 7 - Voice-Leading & Why
054 - Composing On Guitar - Part 6 - Application
053 - Composing On Guitar - Part 5 - Connecting the Intervals
052 - Composing On Guitar - Part 4 - Open Intervals
051 - Composing On Guitar - Part 3 - Tweaking The Major Scale
050 - Composing On Guitar - Part 2 - Spice Up Your Playing
049 - Composing On Guitar - Part 1 - Dominant Intervals
048 - Orchestration Tips for an Epic Sound
047 - The Emotions of the Intervals
046 - Exploring the Work of A Master Composer
045 - 2 True Stories from the Music Industry
044 - Why Composers Need to Have Faith
043 - How To Write Long-Form Compositions
042 - A Taste Of Flamenco Ukulele
041 - A Reliable Process To Repeating Your Musical Successes
040 - Live Guitar Session with MITA Members
039 - 9 Traps Untrained Composers Fall Into
038 - Gathering with 1s on the Guitar
037 - The MITA Philosophy
036 - Getting more out of Scale #1 (The Major Scale)
035 - The Power of Your Demoreel
034 - Analyzing Prokofiev with Interval Theory
033 - 1st-Hand Insights from a Pro Composer
032 - Basin Street Blues on the Guitar
031 - Misconceptions about the Music Industry
030 - 11s and 10s in Blues
029 - Interview with AI about Music
028 - Unlocking the Secrets of 9th-Chords
027 - The Business Booster
026 - The Book of 1
025 - My Top 10 Gathering Techniques
024 - Bitter Fruit
023 - The Top 3 Traps Most Composers Fall Into
022 - How I learned the Music Business
021 - The Sketching Piano
020 - Insights from Interval Theory Master Composers
019 - How We Hear
018 - Stop Mystifying Negative Harmony
017 - Orchestrating Toodles
016 - Don't Let the Piano Fool You
015 - Triads - The Final Frontier
014 - The Unsung Hero in Music Composition
013 - Pentatonic Dominant
012 - Sketch Quickly - Here's Why
011 - Power Pentatonic
010 - The 3-Step Process to Composition
009 - Casual Co-Host Conversations
008 - Using the OI '11' and '10'
007 - What You Need to Know About '13's
006 - The Lydian Mode Gathering
005 - 7 Reasons Why You Should Sketch
004 - The Nature of '1'
003 - The Big Picture of Music Theory
002 - The DNA of Creativity
001 - Why you should listen to this podcast
Trailer - Welcome to the MITA Podcast